66 pronounced judgment of merit on Pope's "Pastorals." Garth. A doctor, author of "The Dispensary,” an early friend of Pope. Congreve. A fine dramatist of the Orange period, whose felicitous phrase "Music has charms to soothe a savage breast," is not forgotten. Talbot. Duke of Shrewsbury. Somers. Lord Keeper under William III. Sheffield. Duke of Buckingham, whose “Essay on Poetry" Pope had greatly admired. Rochester. Dr. Atterbury, Bishop of Rochester. St. John's. Henry St. John, Viscount Bolingbroke, at one time a patron of poets. Burnets, Oldmixons, Cookes. Authors of scandalous history. Cooke wrote "The Battle of Poets," wherein Swift and Pope were defeated by inferior poets. (147-192) Line (150) characterises Pope's style in the 'Rape of the Lock" and in Windsor Forest." Gildon. One who scurrilously attacked Pope in a pamphlet life of William Wycherley, the Restoration writer of coarse comedies. Dennis, John. An author who was antagonistic to Pope, because he had been adversely criticised in the "Essay on Criticism." Mint. According to Warburton, “a place where congregated a band of insolvent debtors, who mutually benefited each other against their creditors." Bentley. Dr. Richard Bentley, who edited "Paradise Lost." Tibald. Lewis Theobald, the original hero of the "Dunciad" and editor of Shakespere, who found much fault with Pope's edition of the immortal bard. (180) Ambrose Philips, a writer of pastorals, who translated the "Persian Tales." (190) Tate, Nahum. A writer who altered "King Lear," and almost ruined “Absalom and Achitophel" by attempting to finish it. (193–214) In 1711, the two coteries of literary men were presided over by Swift on the Tory side and by Addison on the Whig. Pope found favour with the latter, for Addison was loud in his praises of the "Essay on Criticism," though he thought Pope had been too severe with Dennis and Black more. This defence of Dennis wounded the dwarf, and the cicatrice while still raw was irritated by Addison's censure of the addition of the Rosicrucian machinery of gnomes and sprites to " The Rape of the Lock." Cautiously he waited, drinking tea with more stratagem and sharpening his poisonous darts for the destruction of this giant crane. Finally the chance for a petty soul to get revenge came, when Addison pronounced his friend Tickell's edition of the Iliad, Book I., a better translation than that of Pope's. In a letter written July 15, 1715, to Secretary Craggs, Pope vented his spleen concerning the perfidy of Atticus. The quarrel should have been ended at this time, but the smallness of his disposition treasured hatred through the years until in 1735 he revised his invective for the "Epistle to Dr. Arbuthnot," which is monumental It is the finest ex to his fame as a poet and to his shame as a man. ample of the literary heartlessness of the eighteenth century extant. Pope is a second-rate poet because he could not create a dynamic phrase, and also by reason of the animus of hatred which brought into existence his best poetry the poetry of satire. Discuss Prof. Charles F. Johnson's criticism of (193–214): We cannot conceive of Shakespeare writing in such a vein, nor Wordsworth, nor Scott, nor Longfellow, nor Lowell, when "their singing robes were on." p. 267, “Elements of Literary Criticism." Has Pope portrayed any of Addison's faults that were real? What is Macaulay's opinion of the quarrel between Addison and Pope expressed in his essay on Addison? Name the great diatribes or satires in English poetry. Define the heroic couplet, and comment on its use. In this excerpt, analyse the best dexterous phrases. WILLIAM COLLINS 1721-1759 Collins had twenty times the lyric genius of Gray; we feel his fire in our cheeks. - Mrs. E. B. Browning. Optional Poems How Sleep The Brave The Passions. An Ode For Music. Dirge In Cymbeline. Phrases How sleep the brave who sink to rest, ODE TO EVENING If aught of oaten stop, or pastoral song, Thy springs, and dying gales; 5 O nymph reserved, while now the bright-haired sun Sits in yon western tent, whose cloudy skirts, With brede ethereal wove, Now air is hushed, save where the weak-eyed bat IO With short, shrill shriek, flits by on leathern wing; Or where the beetle winds, His small but sullen horn, 15 20 As oft he rises 'midst the twilight path, To breathe some softened strain, Whose numbers, stealing through thy darkening vale, May, not unseemly, with its stillness suit, As, musing slow, I hail Thy genial loved return! For when thy folding star arising shows Who slept in flowers the day, 25 And many a nymph who wreathes her brows with sedge And sheds the freshening dew, and, lovelier still, The pensive pleasures sweet Then leap, calm votaress, where some sheety lake 30 Cheers the lone heath, or some time-hallowed pile, Or upland fallows grey 35 40 Reflect its last cool gleam. But when chill blustering winds or driving rain, That from the mountain's side, And hamlets brown, and dim-discovered spires; The gradual dusky veil. While spring shall pour his showers as oft he wont, Beneath thy lingering light; 45 While sallow autumn fills thy lap with leaves; Or winter, yelling through the troublous air, Affrights thy shrinking train, And rudely rends thy robes: So long, sure-found beneath the sylvan shed, 50 Shall fancy, friendship, science, rose-lipped health, Thy gentlest influence own, And hymn thy favourite name! (1-28) The metrical structure of an ode is usually irregular. Classify the metre of this ode. By the "Faerie Queene" or "Lycidas" explain "oaten stop." (16) Is "softened strain" copied from "Il Penseroso," where music ushers in the evening? (29-40) What reminiscences of "L'Allegro" and "Il Penseroso "are present in imagery? (41-52) "the sylvan shed." Explain this phrase by "Il Penseroso." Detect the subdued touches of romanticism in this ode. |